纪录片自媒体解说素材-新闻动态参考-安娜·卡罗琳·阿恩特（Anna Caroline Arndt/Anna Caroline Arndt Set to Follow Ji.hlava Entry ‘Roof of Leaves’ With ‘This Is Our House’ and Feminist Revenge Film ‘Over’ (EXCLUSIVE)
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0504/1020oo431swzz4y.jpg安娜·卡罗琳·阿恩特（Anna Caroline Arndt
Anna Caroline Arndt Set to Follow Ji.hlava Entry ‘Roof of Leaves’ With ‘This Is Our House’ and Feminist Revenge Film ‘Over’ (EXCLUSIVE)
即将庆祝为Ji.hlava Intl选择的“叶子屋顶”的世界首映。纪录片电影节的证词部分，德国导演安娜·卡罗琳·阿恩特（Anna Caroline Arndt）正在准备下一个项目。她开玩笑说，其中包括一部女权主义的复仇电影“结束”，“这不会是'bandidas'，”她承诺比萨尔玛·哈耶克（Salma Hayek）和佩内洛普·克鲁兹（PenélopeCruz）出演了更现实的拍摄 - 以及另一部纪录片“这是我们的房子，”她将在1980年代谈论她在柏林公社的成长经历。“我与27个不同的人一起成长。基本上是我的故事，所以这次，我必须参加电影。”她告诉《综艺》。 “这将是一个激烈的过程，回到我来自的地方，与所有这些经常过着完全不同生活的人见面。我们所经历的实际上是非凡的。”阿恩特（Arndt斯坦丁。当他与其他妇女追求浪漫的纠缠时，他的女友莎拉（Sarah）遇到了格雷戈尔（Gregor），三人开始形成一个非常规家庭单位。然后我发现了克里斯蒂安的故事，”阿恩特说，这部电影迄今为止称她为“最亲密”的作品。“他们找到了一种交流，找到新结构并基本上自由自己的方法。我们所有人都有关于如何生活和工作，关于家庭的某些概念。他们把那东西颠倒了。这很有趣，[看到]他们是如何做到的，以及他们如何对每一种感觉和思想如此开放。她说：“它正在保护他们，但也像他们的关系一样不断变化。”他们还开放了自己的考验，因为他们的新生活方式并不容易。特别是对莎拉（Sarah）嫉妒。她说，他们说他们很高兴，但这是一个挣扎，您可以感觉到这一点。”她指出，每个角色都以完全不同的方式处理情况方式。“这是一个过程。莎拉（Sarah）挣扎，但她仍然愿意竭尽全力并开放。她努力工作以保持整个系统的运转。当涉及浪漫关系时，我们总是想到排他性，这确实是限制的。承认这部电影的概念证明了许多人对许多人的吸引力，阿恩特想确保她的主人公感到“代表和看到”，让他们直接在电影中解决她。为什么海报上有一个沙发 - 感觉就像集体疗法！拍摄后，我们将始终讨论发生了什么以及每个人对此的感觉。我知道这是一个非常敏感的情况。我必须小心，也要照顾他们，”她说，尽管结合了导演和堂兄的角色带来了自己的挑战。“很难保持我的距离。我总是来自情感上的联系，当您谈论人际关系和爱情时，您不能只是从外面看他们。导演认为他们可以公开公开。“他们只是害怕他们认识的人会说些什么。有些人不知道他们是如何生活的，并不是每个人都喜欢它。对于某些人来说，这是“令人作呕的”。话虽如此，作为一个社会，我们正在思考我们学到的知识以及我们可以学习什么。我们都在努力寻找新的方法，这就是他们的工作。”“叶子的屋顶”
About to celebrate the world premiere of “Roof of Leaves,” chosen for Ji.hlava Intl. Documentary Film Festival’s Testimonies section, German director Anna Caroline Arndt is readying her next projects. These include a feminist revenge film “Over” - “It’s not going to be ‘Bandidas,’ ” she jokes, promising a more realistic take than the Salma Hayek and Penélope Cruz starrer - and another documentary, “This Is Our House,” in which she will go up close and personal, talking about her upbringing in a Berlin commune in the 1980s.
“I grew up with 27 different people. It’s basically my story, so this time, I will have to be in the film,” she tells Variety. “It’s going to be an intense process, going back to where I came from, meeting all these people who often lead completely different lives. What we have experienced was really extraordinary in a way.”
Arndt also turned to her family in “Roof of Leaves,” in which she explores the polyamorous relationships of her cousin Constantin. While he pursues romantic entanglements with other women, his girlfriend Sarah meets Gregor and the three start to form an unconventional family unit.
“I was thinking about the whole subject of non-monogamous relationships for a long time. Then I found out about Christian’s story,” says Arndt, calling the film her “most intimate” work to date.
“They found a way to communicate, find new structures and basically free themselves. We all have certain concepts in our heads about how to live and work, about what family is. They turned that thing upside down. It was interesting, how they do it and how they are so open to every feeling and thought.”
In her film, produced by Gregor Matuschek and lensed by Anselm Belser, they find refuge in nature. “It’s protecting them but it’s also constantly changing, like their relationship,” she says. They also open up about their trials, as their new way of life doesn’t come easy. Especially to Sarah, struggling with jealousy.
“You could make a film where everyone goes, ‘It’s the greatest concept ever!’ They say they are happy, but it’s a struggle and you can feel it,” she notes, pointing out that each of the characters deals with the situation in a completely different way.
“It’s a process. Sarah is struggling and yet she is still willing to go to those lengths and be open. She works hard to keep that whole system going. When it comes to romantic relationships, we always think of exclusiveness, which is really limiting. We have different kinds of feelings for different people.”
Admitting the concept of the film proves intriguing to many, Arndt wanted to make sure her protagonists felt “represented and seen,” letting them address her directly in the movie.
“There is a reason why there is a couch on the poster – it felt like group therapy! After shooting, we would always discuss what had happened and how everyone felt about it. I was aware it’s a very sensitive situation. I had to be careful and take care of them too,” she says, although combining the roles of a director and a cousin brought its own challenges.
“It was hard to keep my distance. I am always coming from an emotional connection and when you talk about relationships and love, you can’t just look at them from the outside,” she says.
While the three still live together, their relationship has changed over time. They are fine with going public with it, however, argues the director.
“They are just a little afraid of what the people they know are going to say. Some don’t know how they live and not everybody loves it of course. For some, it’s ‘disgusting.’ That being said, as a society, we are thinking about what we have learnt and what we can unlearn. We are all trying to find new ways and that’s what they do.”
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